Hi - When I photograph using an on-camera Speedlight in a room lit with Tungsten ambient, I have been using a 1/2 CTS over the flash. I have been setting my camera (Canon 6D) to Tungsten, and it seemed to me like things were working out pretty OK.
The other night, I was photographing a symposium at a law school in a room with tungsten. One of the walls, directly opposite where the 6-person panel was seated, was a medium paneled. The other walls were off white. I was bouncing off any one of them depending on the shot. because I "thought" I had some issues in the past with brownish walls, when I bounced off the paneling, I removed the gel (sometimes). For the other shots, I put the gel on. I pretty much didn't get what I wanted at all
If/when you guys gel a flash, what do you set the in-camera WB to? Do you dial in a Kelvin setting?
When the gel was "out", I found myself reducing the blue slider (in LR), and when the gel was "in", I was reducing the yellow and orange sliders. This was all in an effort to make everything look consistent - the walls, the skin tones, the name placards, etc.
The thing I really go after is consistency from shot to shot. For some reason, this job was more work than I thought it would be.
So what to you "gellers" do?
Thanks - Dave
Comments
I'm almost exclusively doing events, so I'm not setting up any off-camera lighting except for when there are formally-posed photos in front of a backdrop. So, I'm always bouncing my flash.
I think what's also happening is I'm trying to get the hang of suppressing uneven ambient light, bumping up my shutter to max speed, and making the on-camera flash do more of the work of lighting. Confusing as it relates to my original post, but I've been trying to do this more.
Dave